10.6094/behemoth.2019.12.1.1014 BEHEMOTH A Journal on Civilisation 2019 Volume 12 Issue No. 1 The Sounds of the Shuhadāʾ: Chants and Chanting in IS Martyrdom Videos Alexandra Dick Abstract This article addresses the various functions of chants and chanting in the context of jihadi martyrdom. Through the examples of IS martyrdom videos, I will identify three different categories: first, live chanting performed by a collective (ḥudā), second, live chanting performed by a professional nashīd singer (inshād) and third, recorded and post-produced chants (anāshīd). In IS martyrdom videos, these sounds convey ritualistic meanings: Ḥudāʾ serves as a rite of separation that often takes place at martyrdom ceremo- nies to mark the transition from a collective of mujahidin to an individual martyrdom seeker (istishhādī), who will soon carry out a martyrdom opera- tion. To complement this rite of passage, anāshīd serve as posthumous rites of incorporation to integrate the deceased in the hereafter through refer- ences to Qurʾanic verses and hadith excerpts mentioning paradise and the rewards for martyrs therein. Sounds thus help to perpetuate the cycle of jihadi martyrdom by promoting this theologically framed concept. Keywords: anāshīd, inshād, ḥudāʾ, chants, chanting, Islamic State, martyr- dom, jihad, rites of passage Alexandra Dick is a PhD candidate in Islamic Studies at the Junior Research Group Jihad- ism on the Internet at the University of Mainz. She holds a BA degree in Anthropology and Islamic Studies from the University of Tuebingen as well as an MA degree in Anthropology of Development from SOAS, University of London. In her PhD project with the working title Hymns of the Caliphate: Islamic State Anāshīd she addresses the Islamic State’s usage of anāshīd and their perception. E-Mail: [email protected] 89 10.6094/behemoth.2019.12.1.1014 BEHEMOTH A Journal on Civilisation 2019 Volume 12 Issue No. 1 Why Sounds Matter Muslims need to be inspired to practice Jihad. In the time of Rasulullah [the prophet Muhammad] (saaws[1]) he had poets who would use their poetry to inspire the Muslims and demoralize the disbelievers. Today nasheed can play that role. A good nasheed can spread so widely it can reach to an audience that you could not reach through a lecture or a book. Nasheeds are especially inspiring to the youth, who are the foundation of Jihad in every age and time. [...] (al-Awlaki: 44 Ways to Support Jihad, number 40) This chapter, which is entitled Nasheeds,[2] is taken from 44 Ways to Support Jihad, written by Anwar al-Awlaki, who was a leading figure within al-Qaʿida up until his death, brought about by a US airstrike in Yemen in 2011.[3] It shows the significance of sounds within jihadism. Here, al-Awlaki sums up the key strategic function of specific chants, so-called anāshīd (singular: nashīd), in the view of jihadi groups: They serve as a powerful source of inspiration for jihad, since they can convey jihadi messages to broad audi- ences, crossing language barriers and speaking to adolescents in particular. Al-Awlaki later suggests several topics that can form the main subject-material of anāshīd. Interestingly, the topic he lists first is not jihad but martyrdom. This nexus between anāshīd and martyrdom becomes apparent when study- ing the titles of anāshīd produced by jihadi groups such as the Islamic State (IS). One example of this is the IS nashīd Y Fawz Man Nāl al-Shahāda ā [1] Saaws, also abbreviated as saws, Ṣādiqan (Muʾassasat Ajnād li-l-Intāj al-Iʿlāmī 2014), which translates as stands for ṣallā Allāh ʾalayhi wa-sallam, What a Victory for the One Who Truly Receives Martyrdom. It explicitly which translates as may God bless him addresses the concept of jihadi martyrdom. This is why it is commonly used and give him peace. in IS martyrdom videos which, for the purposes of this article, I will define as [2] Nasheed is often used as the English a range of different videos that are produced to celebrate and commemorate equivalent of anāshīd. deceased mujahidin (singular: mujahid[4]) as martyrs or shuhadāʾ (singular: [3] The Gregorian calendar is used [5] shahīd). IS martyrdom videos often cover martyrdom operations, includ- throughout the article. ing farewell ceremonies or martyrdom ceremonies that mark the transition from a mujahid towards the liminal phase of being an istishhādī, an “active [4] A mujahid or mujāhid (plural: mu- jahidin, mujāhidūn or mujāhidīn) is a seeker [...] of martyrdom” (Aran 2018, 13), with the ultimate goal of becom- person fighting for jihad. ing a shahīd. The use of explosives in martyrdom operations, in particular, leaves neither the possibility for the person carrying it out to survive nor for [5] In accordance with the Arabic expres- sion ʾamaliyyāt istishhādiyya used in the this person to be buried. Therefore, martyrdom ceremonies serve as rites of IS videos analysed, I will use the emic term passage in lieu of funerals. However, IS martyrdom videos are not limited to martyrdom operations instead of the etic martyrdom operations, as I will show through the following three examples term suicide attacks throughout the article that cover a broad range of jihadi martyrdom: to highlight the “differentiation between suicide (al-intiḥār) and self-imposed Fursān al-Shahāda 5, the fifth episode of a whole series called Fursān martyrdom (al-istishhād)” (Pannewick al-Shahāda, which Muʾassasat al-Furqān li-l-Intāj al-Iʿlāmī released in 2004, 6). 2008[6] [6] Fursān al-Shahāda was produced at the time of the IS predecessor Islamic Bal Aḥyāʾ ʿInda Rabbihim, released by al-Maktab al-Iʿlāmī li-l-Wilāyat State of Iraq, which existed from 2006 al-Raqqa, also known as ar Raqqah, in 2016 until 2013. Yet, I also apply the term IS martyrdom video for this video for reasons of simplification. 90 10.6094/behemoth.2019.12.1.1014 BEHEMOTH A Journal on Civilisation 2019 Volume 12 Issue No. 1 Al-Ghuraba – The Chosen Few of Different Lands, released by al-Ḥayāt Media Center in 2014 These videos also showcase the breadth of the musical range associated with this genre and with IS videos in general. In addition to anāshīd, ḥudāʾ play an important role in IS martyrdom videos. Ḥudāʾ describes a live chanting performance at a martyrdom ceremony which serves as a rite of separa- tion to accompany a process of social transformation, wherein an individual istishhādī is separated from a collective of mujahidin. This can, for example, be seen in Fursān al-Shahāda 5. While ḥudāʾ can, in principle, be practiced by anyone, anāshīd are recorded chants performed by professional nashīd singers, called munshidūn (singular: munshid). When highlighting the “act of performing” a nashīd, the term inshād, which is derived from the same roots as nashīd, is used in Arabic (Lahoud 2017, 43). A nashīd consequently represents the “product” of the “process” of inshād (Said 2016, 24). One of the few examples for inshād in IS martyrdom videos can be seen and, more importantly, heard in Bal Aḥyāʾ ʿInda Rabbihim. Both ḥudāʾ and inshād therefore generally represent intradiegetic sounds of IS martyrdom videos whose source can be located—or at least presumed—within the scene por- trayed. Its recording therefore coincides with the recording of the visual footage. Anāshīd, on the other hand, are extradiegetic sounds that serve similar functions to film music. One major difference to film music is, how- ever, that anāshīd in IS martyrdom videos religiously frame and sacralise the concept of jihadi martyrdom by referring to a long-established religious practice and by establishing religious legitimacy through references to the Qurʾan and the hadith.[7] References mentioning paradise and the rewards for martyrs play an especially important role, as will be shown through the example of Al-Ghuraba – The Chosen Few of Different Lands. In this regard, anāshīd, as parts of IS martyrdom videos, also represent mediated rites of incorporation that not only integrate the deceased in the hereafter, but also help to perpetuate the cycle of jihadi martyrdom by promoting this concept. Jihadi Martyrdom The concept of martyrdom is not just used in jihadism, but in a range of different temporal, spatial, political, religious and secular contexts. However, the focus varies significantly between these contexts. Jihadi martyrdom focusses on its active pursuit, for example through actions such as martyrdom operations. In contrast to this, martyrs in Islam in general are described as “those who die (generally at the hands of others) for their faith. In a Sunnī Islamic context, martyrs are primarily those who fight unbelievers for the advancement of Islam, and sacrifice their lives for this” (Raven 2003, 281). This notion is, however, not directly anchored in the Qurʾan. Indeed, the term shahīd in [7] “In Islam ḥadīth is the term applied its Qurʾanic usage first and foremost describes a witness or confessor, and to specific reports of the prophet only under the influence of Christianity did it become synonymous with a Muḥammad’s words and deeds as well martyr (282). This concept of martyrdom was initially widely used within as those of many of the early Muslims; the Sunni Islam for the Muslims who died in the fights against the polytheists word is used both in a collective and in a singular sense.” (Speight 2019) 91 10.6094/behemoth.2019.12.1.1014 BEHEMOTH A Journal on Civilisation 2019 Volume 12 Issue No. 1 from Mecca, referred to as martyrs of the battlefield or shuhadāʾ al-maʿraka (Horsch 2011, 66). Here, the Battle of Uhud in the year 625 is central, since the defeat of the Muslim fighters and the heavy losses in this battle required some sort of interpretation or compensation (ibid.).